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Journal articles on the topic 'Dramatists Guild'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Bassin, Joel. "The Minimum Basic Agreement of the Dramatists' Guild: A History of Inadequate Protection." Journal of Arts Management, Law, and Society 25, no. 2 (1995): 157–71. http://dx.doi.org/10.1080/10632921.1995.9941795.

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2

Fisk, Catherine, and Michael Szalay. "Story Work: Non-Proprietary Autonomy and Contemporary Television Writing." Television & New Media 18, no. 7 (2016): 605–20. http://dx.doi.org/10.1177/1527476416652693.

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Based on interviews with three dozen working writers in American television, this paper argues that TV writers assert their status as labor to guarantee their shared craft identity with novelists, dramatists, and authors of other conventional literary material. The tension between writers’ desire for literary prestige on one hand, and their recognition that they create at the behest of company executives, on the other, emerges, alternately, in the imagined difference between writers and producers and, most basically, between autonomous creators and corporate hacks. Our novel observation is tha

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3

Kholiq, Abd. "Kajian Dramatism Theory Kenneth Burke." Madinah: Jurnal Studi Islam 2, no. 2 (2015): 113–18. https://doi.org/10.58518/madinah.v2i2.163.

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Burke's theory compares life to a performance and states that, as in a theatrical work, life requires the existence of an actor, a scene, some tools for the scene, and a goal. This theory allows a rhetorical critic to analyze the speaker's motives by identifying and learning these elements. Furthermore, Burke believes, guilt is the main motive for the speaker, and Dramatism states that a speaker will be most successful when they give their audience a way to erase their guilt.

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Syarifuddin, Achmad Sigit, and Irwansyah Irwansyah. "Analisis Identifikasi dan Guilt pada Teori Dramatisme Kenneth Burke dalam Film “They Live 1988”." JURNAL LENSA MUTIARA KOMUNIKASI 5, no. 2 (2021): 72–85. http://dx.doi.org/10.51544/jlmk.v5i2.1676.

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According to Burke, Dramatism means humans can learn and understand motives in all human interactions through symbols. Burke sees that the motives behind people's actions are essential for analyzing and finding out why people do and say what they do. Apart from the dramatic Pentad which is one of the important concepts in dramatism, there are identification, guilt and ratio. There are six ways of identification, formal patterns, framing, ambiguous symbols, mystification, and scapegoats. There are two forms of guilt, namely mortification and victimage. There are two forms of guilt, mortificatio

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5

Chu, Zane E. "Christ's representation of sinners in Hans Urs von Balthasar and Thomas Aquinas." Scottish Journal of Theology 74, no. 3 (2021): 252–61. http://dx.doi.org/10.1017/s0036930621000417.

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AbstractIn his dramatic approach to the redemption, Balthasar takes seriously Christ's exchange of places with sinners. Christ upon the cross takes on sin itself, and not only its consequences, while remaining innocent. Balthasar critiques Aquinas for maintaining that Christ accepts only the consequences or punishments of sin. Aquinas strictly distinguishes between guilt and punishment, with Christ accepting only the latter out of charity to make satisfaction for sin. I argue that Balthasar does not get beyond Aquinas’ distinction between guilt and punishment but dramatises it for a more dynam

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6

Falska, Maria. "El juego de ser vs. parecer – la relatividad de la culpabilidad e inocencia en las obras de tres dramaturgos hispanoamericanos: Pavlovsky, Diament, Santana." Romanica Cracoviensia 20, no. 4 (2020): 189–98. http://dx.doi.org/10.4467/20843917rc.20.018.13304.

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‘To be’ vs. ‘to appear to be’ – the relativity of innocence and guilt in plays of Pavlovsky, Diament, and Santana The aim of this paper is to compare three dramatic works by Latin-American playwrights: Argentinians Eduardo Pavlovsky and Mario Diament, and Rodolfo Santana from Venezuela. The three dramatists belong to a fairly the same artistic generation (they were born in, respectively: 1937, 1942, and 1944). The examined works originate in approximately the same period of time (Los criminales by Santana was published in 1968, La mueca by Pavlovsky and Crónica de un secuestro by Diament in 19

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7

Wood, Gerald C. "Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper." Theatre Survey 45, no. 2 (2004): 286–88. http://dx.doi.org/10.1017/s0040557404240261.

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Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gai

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8

Tendean, Meriell Jade E. "A dramatistic analysis of Indonesian influencers' statements in responding to sexual harassment allegations." International Journal of Communication and Society 4, no. 2 (2022): 235–49. http://dx.doi.org/10.31763/ijcs.v4i2.752.

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This article aims to dig deeper and reveal the rhetorical strategies of three influencers who are alleged sexual harassment perpetrators in their statements on social media. Social media has given a way for sexual harassment victims to expose their perpetrators, including those who are public figures. However, the alleged perpetrators are also given the same platform to share their statements. Recently, there have been many sexual harassment allegations against social media influencers and celebrities. These public figures then used the same social media platforms they were already familiar wi

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9

Valdez, Renalyn J., Diondy A. Palagtiw, and Donnie T. Sacueza. "An Analysis of Russel Brand’s Vlog on “The Truth about Pfizer’s Vaccines”." Jurnal Komunikasi: Malaysian Journal of Communication 40, no. 1 (2024): 483–95. http://dx.doi.org/10.17576/jkmjc-2024-4001-27.

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The spread of misinformation is a growing concern in today's digital age. The Vlog by Russel Brand titled "The Truth about Pfizer's Vaccines" features various claims about the safety and efficacy of Pfizer's COVID-19 vaccine. The study sought to answer the question, “How does the Vlog “The Truth about Pfizer’s Vaccines” constructed for public understanding and engagement?” The study used Kenneth Burke’s Dramatism Theory to examine the arguments in Russel Brand’s Vlog. It analyzed both stated and implied messages and made an in-depth look at the underlying reasons and purpose of such messages a

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10

M, Deepa. "Barathi's Eternal love towards Kuil." Barathi's Eternal love towards Kuil 7, Sp 1 (2019): 40–43. https://doi.org/10.5281/zenodo.2588200.

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Bharathi is the godfather of modern Tamil poetry. He is a genius in the exact sense of  the term, is a polyglot and a polymath. While in Kasi he would sit on the steps of the Ganga and pore over with rapture the poems of Shelley. Not only that, he explicated Shelley to his willing friends. He established the ‘Shelleyan Guild’ in Ettayapuram. During his exile in Pondicherry he became friends with Shri Aurobindo from whom he learnt the secrets of Vedas and the Upanishads. He indicted verses Vedic in spirit. He had translated ‘The Bhagavad Geetha’ into Tamil. There is

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11

Brown, Logan. "‘They have to help themselves’: Saw and the horrors of neo-liberalism." Horror Studies 11, no. 2 (2020): 259–77. http://dx.doi.org/10.1386/host_00022_1.

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Critical examinations of the Saw films have generally focused on their post-9/11 production context and the link between the War on Terror and images of spectacular violence. This article argues that Saw and its sequels can instead fruitfully be understood as products of new neo-liberal regimes of subjecthood. As neo-liberal ideology and policy push market logics further into everyday lives, new forms of immaterial labour force the worker to act both as disciplining manager and as disciplined worker. By tracing neo-liberal subjectivity’s emphasis on individualized agency and responsibility thr

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12

Roy, Rituparna. "Charulata 2011: Dramatizing the Glocal." Asiatische Studien - Études Asiatiques 73, no. 3 (2020): 545–57. http://dx.doi.org/10.1515/asia-2019-0048.

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AbstractA lonely wife in Kolkata and a bachelor in London have a virtual affair, but are forced to re-think their relationship when they discover he is her brother-in-law. Charulata 2011 is an ingenious post-millennial adaptation of Tagore’s novella, Nastanir (The Broken Nest, 1901), already immortalized by Satyajit Ray in his classic Charulata (1964). This intertextuality, especially with Ray, lends an added dimension to the film, allowing Chatterjee to contrast two modernities in Bengal – the colonial and glocal – over the course of a century. Both these women gain temporary respite from the

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13

Zakarijah, Edi, Melki Bengke, and Suranto. "Menyelami Kekayaan Humor dalam Perkataan dan Perbuatan Yesus berdasarkan Kitab Injil." KARDIA: Jurnal Teologi dan Pendidikan Kristiani 2, no. 2 (2024): 112–31. http://dx.doi.org/10.69932/kardia.v2i2.30.

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Abstract: Humour is human and not the result of sin. But some people live their religious life rigidly and seriously. This study explains that Jesus had a sense of humor. The richness of Jesus' humor is so abundant and impressive in terms of technique, content, and impact. Jesus' humor was in no way destructive or disruptive to his teaching. This fact should make all Christians feel entitled to laugh without guilt at funny, fun, and happy things. And what Jesus did, is worth emulating for all Christians in doing ministry, of course with the right portion and creativity. This research was condu

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14

"The Dramatists Guild resource directory 2010: the writer's guide to the theatrical marketplace." Choice Reviews Online 48, no. 05 (2011): 48–2417. http://dx.doi.org/10.5860/choice.48-2417.

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15

Mohd Said, Nur Aainaa Amira, Arbaayah Ali Termizi, and Mohammad Ewan Awang. "Joel’s Self-Redemption in the Unnatural Narrative Structure of Charlie Kaufman’s Eternal Sunshine of the Spotless Mind (2004)." Pertanika Journal of Social Sciences and Humanities 29, no. 1 (2021). http://dx.doi.org/10.47836/pjssh.29.1.26.

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This essay discusses the significance of the unnatural narrative structure in Charlie Kaufman’s screenplay Eternal Sunshine of the Spotless Mind (2004). Oftentimes, the screenplay’s reverse chronology is studied as a backdrop to accentuate its thematic values of personal identity and memory. However, this study argued that the reverse narrative was caused by the protagonist’s self-redemption journey. To achieve this objective, two components of Kenneth Burke’s dramatism theory, dramatistic pentad and guilt-redemption cycle were utilized. The pentadic analysis explored the connection between th

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16

Anderson, Scott. "Diagramming dramatism: Hell or High Water and the guilt-purification-redemption cycle." Communication Teacher, August 31, 2021, 1–8. http://dx.doi.org/10.1080/17404622.2021.1970786.

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17

Snee, Brian, Grant Cos, and R. Pierre Rodgers. "Fetterman and the Forgotten: Dramatism and Democracy after January 6." American Behavioral Scientist, September 28, 2021, 000276422110465. http://dx.doi.org/10.1177/00027642211046553.

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This essay argues that Lt. Governor John Fetterman (D-PA), in running for the open US Senate seat in Pennsylvania, is attempting to appeal to disaffected Trump voters, showing what the “forgotten men and women” of Pennsylvania might stand to gain by embracing his progressive, Democratic populist appeal. This study examines Fetterman’s announcement advertisement, “Launch,” illustrating how he figuratively and literally enacts Burkean “consubstantiality,” as the candidate not only speaks about and on behalf of the forgotten, but he also appears on camera with the history of Braddock tattooed on

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18

Rocavert, Carla. "Aspiring to the Creative Class: Reality Television and the Role of the Mentor." M/C Journal 19, no. 2 (2016). http://dx.doi.org/10.5204/mcj.1086.

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Introduction Mentors play a role in real life, just as they do in fiction. They also feature in reality television, which sits somewhere between the two. In fiction, mentors contribute to the narrative arc by providing guidance and assistance (Vogler 12) to a mentee in his or her life or professional pursuits. These exchanges are usually characterized by reciprocity, the need for mutual recognition (Gadamer 353) and involve some kind of moral question. They dramatise the possibilities of mentoring in reality, to provide us with a greater understanding of the world, and our human interaction wi

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19

Collins-Gearing, Brooke. "Reclaiming the Wasteland: Samson and Delilah and the Historical Perception and Construction of Indigenous Knowledges in Australian Cinema." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.252.

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It was always based on a teenage love story between the two kids. One is a sniffer and one is not. It was designed for Central Australia because we do write these kids off there. Not only in town, where the headlines for the newspapers every second day is about ‘the problem,’ ‘the teenager problem of kids wandering the streets’ and ‘why don’t we send them back to their communities’ and that sort of stuff. Then there’s the other side of it. Elders in Aboriginal communities have been taught that kids who sniff get brain damage, so as soon as they see a kid sniffing they think ‘well they’re rubbi

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